Miss A Week, and You Missed A World

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(Wonderful color images of recent revivals of several Cino “worlds” HERE.)

While it might be true that the “typical” Cino play was “a quarrel between over-educated young people in a small New York apartment,” we writers took our audiences to a great many fanciful and philosophical settings as well. You never knew where you were going to be when John P. Dodd’s  lights came up.

(Above) Existential/erotic ennui: ROBERT HEIDE’s “The Bed,” 1965

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Photos of The Clown, The White Whore and the Bit Player, Moon, Balls, The Warhol
Machine, Ludlow Fair, and Opening July 4th: For Joe by JAMES D. GOSSAGE.

A quarrel between over-educated young people in a small New York apartment, Bob Heide’s Moon, 1967, may be the characteristic Cino play.

A fairyland where a child is corrupted. Claris Nelson’s The Clown, 1967.

An Arcadia where lovers are corrupted by greed. Aria da Capo, 1960.

An asylum where actresses trade identities. Tom Eyen’s The White Whore and the Bit Player, 1967.

A graveyard where the dead discuss infinity. Balls, by Paul Foster, 1964.

A front porch where the young contemplate both childhood and maturity. This Is the Rill Speaking, Lanford Wilson, 1965. Photo: Fred Eberstadt.

A theatre where showfolk deny the Depression. Dames at Sea, 1966. Photo: Conrad Ward.

A Looney Tunes, drag, Dickensian London. Soren Agenoux’s Chas. Dickens’ Christmas Carol,” 1966. Photo by Billy Name/OvoWorks, Inc.

A city terrified of street violence. Paul Foster’s Hurrah for the Bridge!, 1963. Photo by Conrad Ward.

A laundromat terrified by primitive jealousy. H.M. Kotoukas’ Medea, 1965. Photo: Conrad Ward. Playwright Paul Foster describes the effect of the play’s climax: ‘Medea was there for you to reach out and touch, forming the unspeakable crime of infanticide in her mind. Then she threw her baby into a laundromat and washed it to death with Oxydol. She slammed the lid down and set the dial on HEAVY LOAD. How can you forget things like that?”

The Garden of Eden. And He Made a Her, Doric Wilson, 1961.

The banks of the Nile. Eyen on Eyen, Tom Eyen, 1966.

A warrior’s welcome. “The Warhol Machine” by Robert Patrick, 1966.

A woman’s revenge. Claris Nelson’s Medea, 1962.

A plain girl’s Gesthemane. Ludlow Fair, Lanford Wilson, 1965.

An American couple’s naughty weekend in Jean-Claude van Itallie’s Motel, 1965 (photo possibly from the Off-Broadway production).

The mind of a mourning madman. Charles Stanley in his Opening July 4th: For Joe, 1967.

The heart of a wondering woman. Allegra Jostad reads her poetry, 1959.

A world where puppets become masters–Jerry Caruana’s Mannikins, 1962.

A world where lust becomes parental concern. H.M.Koutoukas’ A LETTER FROM COLETTE, 1966.

Innocence afflicted with free-floating paranoia. Sam Shepard’s Icarus’s Mother , 1965. Photo by Conrad Ward (from The Village Voice)

Innocence destroyed by free-floating patriotism. Lanford Wilson’s Wandering, Cino 1966, here Off-Broadway in Collision Course, 1969. VIDEO of 2007 school production HERE.